Might Expand Upon This Later

This scene is so romantic in my eyes. Hear me out: "Kacchan" was a nickname given to Katsuki by Izuku before either of them got their quirks, before the bullying. "Kacchan" was just a nickname given to him by his close friend, and that's probably why he never asked Izuku to stop calling him that, even during middle school. Katsuki still cherished that name. It's special (at least, that's what I like to delude myself into believing). What's so special to me in this panel is how Katsuki doesn't call himself by his hero name, but the name Izuku gave him. It's like Katsuki has finally let go of his past self, his need to present himself as superior to Izuku, because deep down, he always felt inferior to him, ever since they were kids. You could argue that he let that go during the apology, and you're right, but I believe he fully let it go here. Katsuki does love Izuku, and that's why he's so proud to call himself "Kacchan" in this panel. If this isn't peak romance I don't know what is.

snape cuz i haven’t drawn him yet :0

Just an unfriendly reminder that pantsing someone is sexual assault even in the 70s and people have previously been prosecuted for it as a form of sexual harassment against children so.....even if it wasn't done sexually, it is indecent exposure and a fucking humiliating thing to do and to say it's not SA is factually incorrect.

The Class Dynamics between James Potter and Severus Snape: A Critical Analysis:

This is a dedication to all those who say that class has nothing to do with the bullying that James exerted on Severus, to those who claim that James couldn't be classist because "he never proactively despised anyone for being poor" or because "he was friends with Remus," to those who say "Snape also attacked him" or suggest it was a "rivalry" and that they were on equal footing, or simply to those who say they are "fictional characters" and that fiction has nothing to do with reality, blah blah blah. This is something I have written with bibliographical references because, once in a while, I can stop being a simp goof and show off my university degree in political science. And yes, I am going to be an authentic pedant because I can, and because many people seem to live in a candy-coated world regarding these issues, and it wouldn't hurt them to get a bit educated. That said, here goes my essay:

When analysing the interactions between James Potter and Severus Snape in the "Harry Potter" universe, it is common to find vehement defences of James, arguing that his bullying was not class-motivated. However, it is crucial to untangle how class dynamics operate structurally and how this influences interpersonal relationships. James Potter, as a member of a wealthy, pure-blood family, represents the dominant class, while Severus Snape, coming from a poor, working-class background, embodies the subordinate classes. In the magical world, pure-blood lineage is associated with inherited privileges similar to aristocracy in the real world, where blood purity is a marker of status and power. Authors like Anderson and Löwe (2006) have explored how heritage and lineage have been determining factors in the distribution of power and privileges throughout history, both in fictional and real contexts. This socioeconomic background plays a crucial role in the power dynamics between characters like James and Severus, highlighting how class structures affect their interactions and perpetuate inequality.

Social class, according to Marxist analysis, is a structural category that determines individuals' positions within society based on their access to the means of production. In "Harry Potter", pure-blood status equates to magical aristocracy, while Muggle-borns, Half-Bloods with muggle parent and those from humble origins, like Snape, represent the working or marginalised classes. James Potter, on the other hand, embodies the privileges of the elite, not only through his wealth but also through his lineage, which grants him a status that influences his interactions with others.

The bullying James exerts over Severus cannot be disconnected from its socioeconomic context. Although James may not have explicitly expressed disdain towards Severus for being poor, the way he exploits his superior position to humiliate and subdue Severus reflects power dynamics based on class. Pierre Bourdieu describes how power structures are reproduced through symbolic violence, where the dominant classes impose their cultural and social legitimacy over the subordinate ones, perpetuating inequality. In the context of 'Harry Potter', this symbolic violence is reflected in how the magical aristocracy imposes its values and norms on those of humble origin. The public humiliations James inflicts on Severus are not just acts of bullying but also manifestations of a structural power that favours the privileged like James. Besides Bourdieu, other theorists such as Michel Foucault could provide complementary perspectives on how power is exercised and perpetuated in institutions, in this case, Hogwarts as a microcosm of magical society.

In James and Severus's case, this symbolic violence manifests in the public humiliations James inflicts on Severus, using his status to ensure there are no significant repercussions. James's position as a popular and privileged student grants him social immunity that Severus, due to his humble origin, cannot counter. This demonstrates how class structures influence the dynamics of school bullying, where resources and social capital determine which behaviours are acceptable and which are not.

The "Harry Potter" fandom often minimises James's actions, portraying him as a mere prankster without malice, while pathologising Severus's response, attributing it to resentment and bitterness. This narrative reinforces the whitewashing of the actions of the rich and popular to the detriment of the poor and marginalised. Theodor W. Adorno and Max Horkheimer, in their "Dialectic of Enlightenment", explain how the culture industry and hegemonic discourses contribute to naturalising domination relationships, presenting them as inevitable or even fair. Their analysis reveals that modern media perpetuates class dynamics by presenting power structures as natural and immutable. This can be observed in how the dominant narrative in the 'Harry Potter' franchise tends to glorify high-class characters like James while marginalising figures like Severus, whose resistance to the system is viewed with suspicion or disapproval. Contemporary studies, such as Mark Fisher's "Capitalist Realism" (2009), also highlight how media reinforces the current economic and social status quo, making it difficult to imagine alternatives to the existing system.

By justifying James's bullying as mere youthful pranks, the fandom perpetuates a narrative that excuses the abuse of power and classism, ignoring the impact these actions have on individuals like Severus, who are already in a structurally disadvantaged position. This reinforces social hierarchies and strips victims of their agency and dignity.

Severus's portrayal as a bullying victim is intrinsically linked to his social class. His marginalisation is not just a product of his actions or personal choices but a consequence of social structures that privilege figures like James Potter. Antonio Gramsci's theories on cultural hegemony are useful here to understand how the dominant class's ideas are imposed as normative, silencing the oppressed voices and legitimising the violence they suffer. In the 'Harry Potter' narrative, this hegemony manifests through the glorification of the values and behaviours of pure-blood characters like James, while the perspectives of the marginalised, like Severus, are dismissed or vilified. For example, the Marauders, led by James and Sirius, both rich pure-bloods, are portrayed as mischievous heroes despite their aggressive behaviour towards Snape, who is depicted much more negatively even when acting in self-defence. This reflects how cultural hegemony shapes public perception, perpetuating a value system that favours the privileged and marginalises the oppressed. Authors like Stuart Hall have explored how media and popular culture reinforce these hegemonic structures, underscoring the need for critical analysis to dismantle these dominant narratives.

Severus, in this sense, represents those who are constantly repressed by power structures and whose narrative is distorted to fit a worldview that favours the privileged. His resistance and eventual adoption of extreme ideologies can be understood as a response to this marginalisation, a desperate attempt to reclaim agency systematically denied to him.

To fully understand the relationship between James Potter and Severus Snape, it is essential to acknowledge the influence of class structures on their interactions. The narrative that minimises James's bullying and blames Severus perpetuates a simplistic and biased view that ignores the complexities of social inequality and power. By applying a critical analysis based on Marxist theories, we can unravel how classism permeates these relationships. Studies on young adult literature, such as those by Maria Nikolajeva, and the analysis of victimisation frameworks in popular culture by Henry Jenkins provide a theoretical framework that reinforces the need to re-examine fandom's conceptions to avoid perpetuating these structural injustices. These investigations highlight how narratives of power and oppression are often shaped by dominant interests and how this affects the public's perception of marginalised characters like Severus.

sleepy gaang >>>> everyone else

An early valentines post :)

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